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Sketches of Spain, Kind of Blue, Milestones, Round About Midnight, and Four & More Also Available from Mobile Fidelity

Shhh. The command to be quiet is no just part of the title of one of the two sprawling compositions on this pioneering album. Its also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis first full-on fusion effort and part of his electric era, the 1969 landmark claims a Whos Who lineup that sends the music into an ethereal stratosphere.

Part of Mobile Fidelitys Miles Davis catalog restoration series, In a Silent Way now immerses the listener in linoleate landscapes starlit by the intuition, suspension, and paradoxes wrought by a once-in-a-lifetime collective. Half-speed mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the beveled compositions melt away all preconceived notions of jazz, rock, and ambience, following a loose theory Davis dubbed New Directions.

Few albums are so delicately textured. And on Mobile Fidelitys meticulous analog reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams inventive percussive touch he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Hollands extrapolative bass, and the mosaic of keys.

If the records only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons not the least of which is the seemingly telepathic communicative methods employed by the groups members. The lineup is great on paper, but, if its even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producers could attempt and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

Mosaic

Originally released by Blue Note Records in 1961, "Mosaic" by Art Blakey & The Jazz Messengers, will be reissued as part of an overall Blue Note 75th anniversary vinyl initiative spearheaded by current Blue Note Records President, Don Was. Performing with Blakey, "Mosiac" features critically-acclaimed jazz greats like Wayne Shorter, Freddie Hubbard and Curtis Fuller. This version of The Jazz Messengers performed together from 1961 through 1964.

Mosaic

The 17-song MOSAIC was produced by John Feldmann (Blink-182, Panic! At The Disco, etc.) and Scotch Ralston (who produced 311's iconic Transistor, Soundsystem, and Stereolithic albums). With MOSAIC, 311 are approaching their 10th consecutive Top 10 album debut on the Billboard Top 200 Albums Chart.

Moody Coup

Co La is the primary project of musician and producer Matt Papich, whose explorations of sample-based electronic music have culminated in Moody Coup.

The emotional palette of Moody Coup, Papich's second album and rst for Software Recording Co., is more complex than its exuberant predecessor Daydream Repeater (NNA Tapes 2011). Where that record's relentlessly bucolic tone drew from the saccharine core of reggae, exotica, and 60s girl groups, the bedrock of Moody Coup is elusive and abstract. The various genre coinages that have been tagged to Co La's music before - new exotica, Avant-luxury, furniture music, etc. - fail to accommodate the brainier obsessions behind Moody Coup's genesis. A new brand of alchemy occurs in the album, where cryptic sources are enhanced and embellished to a point of transcendence. This departure is the brilliant process o of Co La's unpredictable electronic music.

Highlights of Moody Coup include Remarkable Features, which consolidates the prior seismic scope of Daydream Repeater into a dance oor standout. Deaf Christian transforms a Neil Sedaka doo-wopper into a mesmerizingly dark House cut, complete with synth chasms and haunting voice chants (supplied here and throughout the record by Angel Deradoorian). The meticulously crafted Suspicious ventures into more calming pastures -- an extra dimensional, dubbed-out take on the Psychic TV gem by the same name.

At the outset of Moody Coup, Sukiyaki (To Die For) melodically alludes to the Kyu Sakamoto song Sukiyaki." The original was penned as a mournful assessment of post-war Japan's relationship to the US, albeit dressed by Sakamoto as a love song. Ironically, Sukiyaki became a hit oversees in the US and was later covered by A Taste of Honey. Rather than translating the lyrics, A Taste of Honey set new words to the original melody. (Stranger still, the word Sukiyaki itself refers to a Japanese hot dish.)

It's important to note that the wide range of reference sources does not serve Moody Coup as a supercial demonstration of Papich's eclectic taste. Instead, all of the micro pieces function mosaically, creating an impression at a macro level that is extremely potent as music as well as concept. Co La's intellectual obsessions are rooted in questions about how music is dilated by the cultures who created it and the power structures that shape those cultures (see Sukiyaki), while his musical obsessions are always rooted in the sensual, the beautiful and the immediate.

Papich describes the working Co La method on Moody Coup as "employing the hegemony of delete." He likes to be interrupted, and is fond of working in places where domestic concerns are on equal terms with studio practice. Much of Moody Coup was made in the kitchen of Papich'sBaltimore home -- a place where he describes having the "best interruptions." Assistant to Papich's production was friend Joe Williams, who programmed and performed all synths. Tracks were additionally consolidated from eld recordings, samples and composed in Ableton Live and mixed in Brooklyn at Gary's Electric Studio, located at the Software HQ.

Freedom & Surrender

Freedom and Surrender

The circuitous dance between the beginning and the end.

Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.

The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.

When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.

It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.

I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.

My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.

In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.

I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.

Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.

The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?

-Lizz Wright

1. Freedom2. The Game3. The New Game4. Lean In5. Right Where You Are6. River Man7. Somewhere Down The Mystic8. Real Life Painting9. To Love Somebody10. Here And Now11. You12. Blessed The Brave13. Surrender

Love Devotion Surrender

These two virtuoso guitarists were coming from different musical worlds when they came together for this unique 1972 project. What they shared, besides the instrument they'd mastered, was profound spirituality; both had taken inspiration from the music of John Coltrane. The core of Love Devotion Surrender is made up of the three magnificent extended guitar jams including Coltrane's A Love Supreme which borders on spiritual ecstasy. To hear Carlos Santana and John McLaughlin trading licks and then coming together is a guitar fan's dream come true and while the guitar playing is absolutely stunning in its virtuosity here, the music never loses its focus or its soul.

1. A Love Supreme 2. Naima 3. The Life Divine 4. Let Us Go Into The House Of The Lord 5. Meditation

Biophilia Live (On Sale)

'Biophilia live' is a concert film by Nick Fenton and Peter Strickland that captures the human element of Björk's multi-disciplinary multimedia project: Biophilia. Recorded live at Björk's show at London's Alexandra palace in 2013, the film features Björk and her band performing every song on 'Biophilia' and more using a broad variety of instruments - some digital, some traditional, and some completely unclassifiable. The film has already been hailed as "a captivating record of an artist in full command of her idiosyncratic powers" (Variety) and "an imaginative stand-alone artwork" (Hollywood Reporter) and is a vital piece of the grand mosaic that is 'Biophilia.'

The critically acclaimed documentary film which captures the multidimensional concert centered on Björk's eighth studio album titled, 'Biophilia Live' is released on audio-visual formats internationally via One Little Indian.

With Us

The Burning of Rome's style can not be forced into any known genre without taking shortcuts and over looking its originality. Imagine a Gothic band collides with a Jewish Carnival (if there's such a thing), the result would be The Burning of Rome. Its dark tones and circus like melodies intermingle into one spontaneous, yet entertaining work of musicianship. They hail from the San Diego area.

Blistering live shows and melodic hooks. Blending gypsy punk, dance and rock into a mind-bending stew, this is music for the new world.The thrillingly eerie, impossibly fun five-piece ensemble The Burning of Rome will unleash their musical mosaic debut studio album on indie fiends far and wide. WITH US explodes into ears on September 18th, 2012. Nominated for Best Alternative in the 2012 San Diego Music Awards, the band is leaving a cult of believers in their wake. WITH US will galvanize even the most disparaged souls.

"A lot is riding on this new record." Adam Traub checks in by phone about his band the Burning of Rome and their new disc. "Kind of everything. We've got a good relationship with our label (Surfdog Records.) I'm treating it like it's our chance to break out. Everything came together at the same time - the booking agent, the label, and the publicist. It's sink or swim time."

Testimonium Songs

Limited edition, hand numbered vinyl of 550

Testimonium Songs collects the song cycle composed by Joan of Arc (Tim Kinsella, Bobby Burg, and Theo Katsaounis) to be performed live in Testimonium, a work of performance by well-respected experimental theater ensemble Every House Has a Door.

Testimonium responds -- both in substance and in style --to Charles Reznikoff's monumental work Testimony, a translation into poetry of courtroom transcripts of witness and victim testimonies in criminal cases and cases of workplace negligence, in the US, spanning the years 1885 to 1915.Performances of Testimonium incorporate modern dance, theater, and original songs written and played by Joan of Arc.In a departure for the band, these highly structured compositions, developed over a two-year rehearsal period, emulate Reznikoff's poetics by shaping themselves according to a mosaic method - rotating a fixed set of musical units in warping permutations.

The lyrics re-invent the strategies of Objectivist poetry, by turns surreal, ordinary, testimonial, and explosive, releasing the undercurrent of emotion in the poems while (almost) never quoting them directly.Beyond collecting the Testimonium Songs, the record has a life of its own, with the contributions of stellar musicians David Grubbs, Fred Lonberg-Holm, Michael Zerang, and Jim Baker, additional vocals by Melina Ausikaitis, and musical material not included in the performance.

30th Century Records Compilation Volume 1

In the summer of 2015, Brian Burton (aka Danger Mouse) announced details about 30th Century Records, his imprint in collaboration with Columbia Records. The first release that comes from the world-renowned artist, songwriter, and producer is 30th Century Records Compilation Volume I, featuring eleven tracks of guitar-based brilliance.

A psychedelic mosaic with international scope, 30th Century Records Compilation Volume I, touches both future and classic sounds from the sun-drenched shores of Brazil to to the murky depths of Glasgow. Dan Auerbach's blistering riffage in The Arcs, and Autolux's arty experimentalism are featured alongside Sam Cohen's rough-hewn authenticity and emotive rockers from newcomers like Nine Pound Shadow and Waterstrider. Compiled by Danger Mouse, this album finds guitar music alive and well from the garage to the depths of space.

The compilation will also feature a brand new track from Autolux, who will release their forthcoming album via 30th Century Records in 2016, as well as an exclusive new track from Dan Auerbach's project, The Arcs.

Kid A

With the near impossible task of following up their critically acclaimed masterpiece OK Computer, Radiohead took another bold leap with Kid A, an experimental album built largely around the union of electronica and mood. Musically, Kid A is as accomplished as anything Radiohead has ever produced and its overflowing with eye-opening musical mosaics which are absolutely stunning in their insight and beauty.

LP 11. Everything In Its Right Place

2. Kid A3. The National Anthem4. How To Disappear Completely5. Treefingers

Echoes of Indiana Avenue

With a lot of sleuthing and a team of experts on the case, long lost tapes of Wes Montgomery have been discovered and restored. Resonance Records will release Echoes of Indiana Avenue, the first full album of previously unheard Montgomery music in over 25 years on March 6, 2012, which would have been Montgomery's 88th birthday. Over a year and a half in the making, the release will provide a rare, revealing glimpse of a bona fide guitar legend. The tapes are the earliest known recordings of Montgomery as a leader, pre-dating his auspicious 1959 debut on Riverside Records. The album showcases Montgomery in performance from 1957-1958 at nightclubs in his hometown of Indianapolis, Indiana, as well as rare studio recordings. The release is also beautifully packaged, containing previously unseen photographs and insightful essays by noted music writers and musicians alike, including guitarist Pat Martino and Montgomery's brothers Buddy and Monk.

On this scintillating discovery, Montgomery plays it strictly straight ahead, swinging with a momentum and ferocity that is positively visceral, a clear display of Montgomery's bebop side. Listening to these recordings only reaffirms how Montgomery exerted such a profound influence over generations of guitarists from George Benson, Pat Martino and Joe Pass to John Scofield, Pat Metheny, Kevin Eubanks, and Russell Malone to Kurt Rosenwinkel.

Joined by such Naptown colleagues as drummer Paul Parker and keyboardist Melvin Rhyne (who would later appear on Montgomery's first Riverside release), pianist Earl Van Riper, bassist Mingo Jones and drummer Sonny Johnson, as well as brothers Monk on acoustic bass and Buddy on piano (the brothers featured on one track), Montgomery swings with blistering abandon on a program of burners and ballads. Included here are renditions of Shorty Rogers' Diablo's Dance, Erroll Garner's Misty and Billy Strayhorn's Take The A Train as well as jazz standards Darn That Dream and Body and Soul. Montgomery also reveals some bluesy roots with an earthy improvised After Hours Blues, which has him playing with Guitar Slim-like nastiness. Elsewhere on Echoes of Indiana Avenue there's a stirring duet between Wes and organist Rhyne on a moody rendition of Thelonious Monk's 'Round Midnight and a faithful rendition of Horace Silver's Latin-tinged Nica's Dream. Montgomery and his brothers also tackle Thelonious Monk's Straight, No Chaser with bop-ish authority.

Echoes of Indiana Avenue consists of three different sessions, one studio and two live. Four of the tracks were recorded at The Hub Bub, a long-forgotten jazz club in Indianapolis. The title of the collection refers to a longstanding popular commercial strip in Indianapolis, with historical roots. As Dr. Baker remarks, In Indianapolis during the 1940s and 1950s twenty or more clubs and other performance venues were operating at any given time. Generally speaking, the important clubs lay on or near main thoroughfares in predominantly black areas. The busiest and most notable area was known as 'The Avenue,' which was the portion of Indiana Avenue.

How these long lost tapes from the early stage of Montgomery's solo career finally emerged after being on the shelf for more than 50 years is a tale of intrigue that will enthrall collectors and aficionados. Although the identity of the person who made the original recordings remains unknown, the tapes may have passed through several hands before they were eventually acquired in 1990 by a guitarist and Montgomery fan Jim Greeninger. Due to their fragile condition, he immediately made digital transfers of the original tapes and set out to make a deal with a record company. It wasn't until 2008 that Greeninger, who had tried selling the tapes on eBay, contacted Michael Cuscuna, the respected veteran producer who has had a long track record with Blue Note Records and is also the co-founder of Mosaic Records.

In the summer of 2010, Cuscuna contacted Zev Feldman of Resonance Records, who served as a producer on the project. We had no idea when we got the tapes what they were exactly, Feldman recalls. All we knew was that Wes was on them. So between 2010 and 2011, I made three trips to Indianapolis where I interviewed and discussed the recordings with scholars, musicians and friends of Wes. It was a big mystery and we had to act like gumshoes in piecing it all together. It was actually in part because of label founder and president George Klabin's support that we were able to make this project possible.

Resonance has created a hand-numbered, hand-assembled LP edition pressed by audiophile embraced Record Technology, Inc. (RTI) and with a deluxe gatefold LP jacket by Stoughton Press. The two 12 LP's were mastered by the legendary Bernie Grundman at 180g 45 RPM for the best sound.

No More Shall We Part

No More Shall We Part ends a four-year silence from Nick Cave & the Bad Seeds. A best-of was issued in 2000, but no new material has appeared since 1997's landmark album, The Boatman's Call. With that record Cave had finally delivered what everyone knew he was capable of: an entire album of deeply tragic and beautiful love songs without irony, sarcasm, or violent resolution. It appears that The Boatman's Call has altered the manner in which Cave writes songs, and the Bad Seeds illustrate them. Two musical directors -- the ubiquitous Mick Harvey and Dirty Three violinist Warren Ellis -- craft a sonic atmosphere whose textures deepen and widen Cave's most profound and beautiful lyrics to date. The ballads have the wide, spacious, sobering ambience one has come to expect from the Bad Seeds. There is an ethereal change in sound in the up-tempo numbers, which are, for lack of better terminology, musical novellas. They plumb the depths of blues, yet contain glissando and crescendos from the orchestral music of composers such as Fartein Valen and Olivier Messiaen. There are places, such as in Oh My Lord, where rock & roll is evoked as a device, but this isn't rock music. A listen to As I Sat Sadly By Her Side, Hallelujah, and the aforementioned track (the most rock song here) will attest that it is merely one color on a musical palette that is more expansive now than at any time in the band's history. Also in the band's musical treasure trove is the addition of the McGarrigle sisters on backing vocals - nowhere is their contribution more poignant than on the tenderly daunting, haunted house that is Love Letter. Lyrically, and as a vocalist, Cave has undergone a startling, profound metamorphosis. Gone is the angry, humorous cynic whose venom and bile touched even his lighter moments. His deep taunting ambivalence about Jesus Christ and Christianity in general is gone, vanished into a maturity that ponders spiritual things contemplatively. Humor that pokes fun churchianity remains, but not as a source of its inspiration. Over these 12 tracks, Cave has taken the broken heart--so openly exhibited on The Boatman's Call--and elevated it to the place where he has learned to live with, and speak from it as both an artist and a human being. Leonard Cohen stated in the song Anthem, that, there is a crack in everything/that's where the light gets in.No More Shall We Part is a mosaic of those cracks. If this album is about anything, it is about love's ability to survive in the world. It is examined concretely and abstractly; to the point where it meditates on this theme even cinematically. His methodology for the listener is, even though these are intimate conversations, the effect is illustrated in widescreen. In this way, Cave touches the heart in the same way Andrei Tarkovsky's films Stalker and The Sacrifice and Wim Wenders' Wings of Desire do. There is powerful emotion here, spiritual, psychological and romantic, without a hint of the sentimentality that would make it false. As both a singer and a songwriter, his work has been transformed into something so full of depth, color, and dimension, that there is simply no one except his mentors working on this level in popular music. In the opening moments of As I Sat Sadly By Her Side, a tenderly, softly sung vocal delivers: Then she drew the curtains down/And said when will you ever learn/That what happens there beyond the glass/Is simply none of your concern/God has given you but one heart/You are not a home but the hearts of your brothers/God don't care for your benevolence anymore/But he cares for the lack of it in others/Nor does he care for you to sit at/Windows in judgement of the world he created/While sorrows pile up around you/Ugly, useless and over-inflated/At which she turned her head away/Great tears leapin' from her eyes/I could not wipe a smile from my face/As I sat sadly by her side. The title track is a ballad that could have been lifted from The Boatman's Call, except it lacks the reaching tragedy. And Cave sings in a tenor no one thought him capable of -- And all the birds will sing to your beautiful heart/Up on the bell/And no more shall we part. The chaos of earlier Bad Seeds outings does kick up on The Sorrowful Wife, where violins and Blixa Bargeld's guitars duel with Jim Sclavunos's drums for domination of the sonic torrent. The record closes with two of Cave's most beautiful songs, a near country gospel waltz called Gates to the Garden with the McGarrigles sweetening an already lovely tome to redemptive love. Finally, Darker With the Day, illustrated by Harvey's striking pianistic ballad framework touched by Bill Evans' technique, is as strikingly autobiographical as Cave has ever been, highlighting the extremes of good and evils that inform and torment the protagonist's inner emotional life within in a single day. There is loss and the seeking of deliverance and, in a statement not so much of recognition that this is simply fate, he also acknowledges hope: All these streets are frozen now/I come and go/Full of a longing for something I do not know. As he calls to a lover gone seemingly forever, he comes to the conclusion that for him, redemption is in love itself, whether divine or profane; the only hope is that love, between two people or between an individual and her or his creator, depends on one's openness to receiving it. Who can argue with him? No More Shall We Part leaves listeners in awe, full of complex emotions, and pondering the notion that they've been in the presence of great redemptive art--which Henry James calls, the thing that can never be repeated.

- Thom Jurek (All Music)

1. As I Sat Sadly by Her Side2. And No More Shall We Part3. Hallelujah 4. Love Letter5. Fifteen Feet of Pure White Snow6. God Is in the House7. Oh My Lord8. Sweetheart Come9. The Sorrowful Wife10. We Came Along This Road11. Gates to the Garden12. Darker with the Day

Indoor Living

With a lot of Superchunk products, it's easy to think there's a simple message because the music is so direct. But on Indoor Living, typically unfussy guitar hooks and shout-sung tag lines that beg for an audience to croon along-"Let's burn last Sunday"-are just the overarching structure of a record that moons over details: "Marquee" drapes a lazy sonic arm over the seat, pulling you in for a story about egos twisting apart ("The arc of lights / above your head / is not to be believed"). "Martinis on the Roof " puts a slightly manic, rueful smile on the loss of a friend, a search for that emotion that lurks in a mix of anger and nostalgia: "Well the wasted space is mine / Yeah I hardly have the right to sing about it."

Indoor Living is about domestication: The taming and training of human beings to inhabit each others' lives, during which a certain amount of blood is spilled. But anyone can write a break-up record, anyone can color in a broken heart all black. It takes a more sophisticated eye to find the light and perfect moments that happen even when we wish they didn't, and Indoor Living is a scrapbook of those moments. A request for mercy comes across like an in-joke ("We both know that I've got bad knees") in "Watery Hands." "European Medicine" is a lively travelog that's by turns amusingly fatalistic ("All our wine just froze, so much for your sunny coast") and achingly needy ("Hold my hand steady while I write / Look over my shoulder all night"). Even "The Popular Music," the record's angriest slice of heartache, has a protagonist that can't quite pull off a fully punk rock tantrum: "I'm smashing not washing the china you left me to use," but "making mosaics of scenes from the parts of my life that you left me to lose."

Angst is easy, hope is hard. Thinking you're going to die from a broken heart is easy, knowing you won't is hard. Adulthood is about forsaking the black and white resolutions of youth for a more complicated, and resonant, resilience: From "Burn Last Sunday," one of the saddest lines in indie rock: "The branches you thought you'd break / Well, they just bend." In music and with people, maturity happens when the sharp edges and jangly rhythms of angst and outrage give over to fuller conversations. Indoor Living shows that you don't have to lose a single joule of energy in becoming a little more self-reflective. You just have to be willing to take it all in.

Trying to hear Indoor Living the way I heard it sixteen years ago was easier than I wanted it to be. Though of course-of course!-I've listened to the record on and off in the intervening time, I had forgotten how familiar this record is to me. I had forgotten I knew all the words to every song, could anticipate every hesitant drop in rhythm and wavering chorus. This record was the soundtrack of being 25 and because of that, it does remind me of a really specific time; but that time is not so much the late '90s as the turning point between adolescence and adulthood, which happens later and later to me every year.

-Ana Marie Cox, 2013

1. Unbelievable Things2. Burn Last Sunday3. Marquee4. Watery Hands5. Nu Bruises6. Every Single Instinct 7. Song for Marion Brown8. The Popular Music9. Under Our Feet10. European Medicine11. Martinis on the Roof

Cloud Atlas Soundtrack

180 Gram Audiophile Vinyl

First Time On Vinyl

Gatefold Sleeve

Includes 6-Page Insert With Liner Notes, Credit And Photos

PVC Protective Sleeve

Cloud Atlas is a 2012 science fiction film written and directed by The Wachowskis and Tom Tykwer. Adapted from the 2004 novel of the same name by David Mitchell, the film has multiple plots set across six different eras, which Mitchell described as a sort of pointillist mosaic. The official synopsis describes it as an exploration of how the actions of individual lives impact one another in the past, present and future, as one soul is shaped from a killer into a hero, and an act of kindness ripples across centuries to inspire a revolution. Tom Hanks, Halle Berry, and Jim Broadbent lead an ensemble cast.

The score was composed by director Tom Tykwer and his longtime collaborators, Reinhold Heil and Johnny Klimek. The trio have worked together for years as Pale 3, having composed music for several films directed by Tykwer, most notably Run Lola Run, The Princess and the Warrior, Perfume: The Story of a Murderer, and The International, and contributed music to the Wachowskis' The Matrix Revolutions. Work on the Cloud Atlas score began months before shooting commenced. The music was recorded in Leipzig, Germany with the MDR Radio Symphony Orchestra and the Leipzig Radio Chorus. The score was nominated for a Golden Globe Award for Best Original Score.

LP 21. Adieu2. New Direction3. All Boundaries Are Conventions4. The Message5. Chasing Luisa Rey6. Sonmi's Discovery7. Death Is Only A Door8. Cloud Atlas Finale9. The Cloud Atlas Sextet For Orchestra10. Cloud Atlas End Title

Miles Davis' move into full-on fusion starts here. Abandoning his bebop roots and chasing electric dreams, rock-based rhythms, and ostinato pulses, the icon gives life to new music forms on Filles de Kilimanjaro, a titanic release prized for its historical significance and lasting beauty. Grounded and focused, the five compositions unfold like a unified suite. Such peak lyricism, flourishes, and phrases are experienced in the highest-possible fidelity on Mobile Fidelity's 45RPM 2LP set.

Mastered from the original master tapes and pressed on 180g vinyl at RTI, this collectable audiophile version of Filles de Kilimanjaro joins the ranks of eleven other essential Davis sets given supreme sonic and packaging treatment by Mobile Fidelity. Loaded with revealing signatures, the record takes on even greater import when heard the way Davis and his mates discerned it in the studio. Backgrounds are squid-ink black, pianissimo lines shimmer, and the electric piano emerges with tube-amp warmth.

Indeed, the exotic sound, touch, and feel of the songs on Filles de Kilimanjaro are as crucial as the melodies. To that extent, listeners can now enjoy the expressive tonalities and lush colors from each instrument in full-range glory. Voicings, harmonics, and pitches are rendered with exquisite detail. The manners in which the textures and phrases rotate what seems like a unified tonal center places you at the original recording sessions, executed in July and September 1968.

The final appearance of Davis' classic second quintet bears fruit on three of the record's cuts, including the title track and R&B-tinted "Frelon Brun." Sparked with restrained funk, driving grooves, and bluesy accents, Filles de Kilimanjaro maintains an instinctive flow and controlled fredom that permit Davis to oversee an innovative blending of alterations, improvisation, and cycles. Comprised of multiple sections, "Petits Machins" is a lesson in perfectly played melodic complexity, with chromatic riffs, dominant chords, syncopated progressions, and switching meters forming a singular mosaic.

Filles de Kilimanjaro also represents a jumping-off point for Davis' lineup. For the September sessions, Chick Corea replaced Herbie Hancock while Dave Holland relieved Ron Carter. The new additions speak a different albeit common language, fitting in with Davis' desire to draw from rock and weave funk into open-minded excursions filled with exoticism, soulfulness, and wonder.

More than 40 years ago, this record epitomized the future of jazz. Davis even announced such aspirations with the tagline "Directions in Music." With the jazz world still trying to wrap its collective mind around its genius, it still does.

Neon Angel (Out Of Stock)

Bryan's honesty in her approach to song writing has created a stylization that defies category. Neon Angel is a unique and personal body of work. In it, her lyrics are visual and socially relevant, yet intimate, poetic and immediate. Her music ranges from the ethereal to a plaintive earthiness, and at times both expressions are grasped in the same moment. This recording is as classic and as powerful as Joni Mitchell's legendary Blue.

The setting for Nancy's songs is specific, yet timeless. Blame It On The Moon is a Southern swamplife spiritual sung against an undulating bass line. Pulse and Time is as light as whipped cream in the confluence of dobro, ukulele and D-tuned acoustic guitar. And you can almost see the cold blue November sky behind a silhouette of skyscrapers in the melancholy Chicago Skyline and feel the singer's loneliness as her soaring vocals cry out for an irredeemable past.

Neon Angel was recorded live, direct-to-two-track at Blue Heaven Studios, the converted 77-year-old church in Salina, Kansas. This 13-song, all-acoustic album emphasizes the church's natural acoustics, bringing to life the massive, vaulted ceiling and Nancy on the altar.

Though this is only her second solo release, Nancy has won acclaim for several songs she's written and sung for Disney, including a track for the Grammy-nominated and now-gold record Take My Hand. Her songs have also appeared on MTV's popular shows The Real World and Road Rules.

Every track on this record is naked and essential and is an equally integral part of a brilliant mosaic.

1. Nobody's Buying2. Blame it On The Moon3. Pulse and Time4. Chicago Skyline5. Neon Angel6. Salvation7. Bending Road8. Skating At The Edge9. Deep As The Sea

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